BLU PRNT
Side A
Contents FINE
ART
23
Ali Cavanaugh
2
Markus Ă…kesson
13
Ph o
Reflections
Sebastian Magnan
7 7 Medina Dugger E m i l i o V i l l a l b a 31
tography
13 Yannis Davy 711 Mario Macilau 9 Philip Barlow 21 Kamwei Fong
Maria Maria Svarbova Svarbova
Zuzanna Szarek.
9
ii
LETTER FROM THE CREATOR Blu Prnt is a conceptual magazine that utilises the imagery of text, useing it in the same manner as it would any other image. In so doing, it places little emphasis on legibility and focusses on how the placement of text could enhace the overall visual appearance of the publication. Text is used to create symmetry and even offset the balance of a page to create a unique visual appearance. Blu Prnt rewards every strenuous text page, with an equally rewarding photo series. Every spread is designed keeping the artist in mind. In this regard, the typography trys to mimic the artists intentions. Inspired by David Carsons style, this book is intended to be nothing short of a challenging sensory experience. Welcome to the awesomely bizzarre experience that is Blu Prnt.
-CHIZI KATAMA
iii
“Creativity is unusual stuff, it frightens, it deranges. Its subversive. It mistrusts what it hears. It dares to doubt. It acts even if it errs. It infiltrates preconceived notions. It rattles established certitudes. It incessantly invents new ways, new vocabularies. It provokes and changes point of view.� -Fabrica
Reflec snoit gnirieM llenworB idniL yB
Award-winning Swiss photographer and artist Sebastian Magnani is in the process of creating a series of images that deal with the way in which nature interacts with the world.
rehpargotohp ssiwS gninniw-drawA si inangaM naitsabeS tsitra dna seires a gnitaerc fo ssecorp eht ni yaw eht htiw laed taht segami fo eht htiw stcaretni erutan hcihw ni .dlrow
A former designer at an advertising agency, Sebastian became a fulltime photographer in 2011.
gnisitrevda na ta rengised remrof A -lluf a emaceb naitsabeS ,ycnega .1102 ni rehpargotohp emit
His latest series, Reflections, which is still a work in progress, sees the Zurich-based photographer taking a round mirror and placing it in different locations, using it to reflect the natural surroundings.
hcihw ,snoitcefleR ,seires tsetal siH eht sees ,ssergorp ni krow a llits si a gnikat rehpargotohp desab-hciruZ -reffid ni ti gnicalp dna rorrim dnuor eht tcefler ot ti gnisu ,snoitacol tne .sgnidnuorrus larutan
For Sebastian, it’s important that his work is accessible, which is one of the reasons he’s made this series available on Society6, in the form of prints, tote bags, wall clocks, cushion covers, phone cases, towels, coasters, cards, cutting boards, blankets, laptop sleeves and trays.
sih taht tnatropmi s’ti ,naitsabeS roF fo eno si hcihw ,elbissecca si krow seires siht edam s’eh snosaer eht fo mrof eht ni ,6yteicoS no elbaliava noihsuc ,skcolc llaw ,sgab etot ,stnirp -tsaoc ,slewot ,sesac enohp ,srevoc ,steknalb ,sdraob gnittuc ,sdrac ,sre .syart dna seveels potpal
tions
Reflec
1
Reflections is a present undertaking, during which i photograph a spherical mirror in numerous locations.
It’s all about the great thing about mirrored mild. It’s like a universe, a small planet, with a number of risk’s in distinction of buildings, colors, moods and numerous lightnings, the fascination of interaction like nature and civilization, or the gravitation between life and death, such as in the rose blossoms, in which the tree in the mirror full of life and color radiates, on the floor, the sheet but already on is wilting. And finally, a really important thing, the key for self-development, the self-reflection, which is always crucial to progress. Compare new with the old, removed again, be fond of discovery, then back to the origins, an interplay that keeps us moving, we can feel the life.
2
IN
SYNC
uoluopotoiganaP araS yB
NI
CNYS
The lens of photographer Maria Svarbova has captured hauntingly still images of women in various stages of swimming in her photographic series, “In the Swimming Pool.” Maria says that her inspiration came courtesy Alof the stark architecture phoof her local swimming has pool in Slovakia; an eighty-year old chosen t building that was constructed people as the back when swimming subject was “more a of matter her art, it’ social duty than a sport” which is at least at first, if in this se to question, lined with plain white tiles and “No the photographed subjects play a supp Diving” signs. “I was struck ing role to the main star, i.e. Socialist E by the calmness publicof swimming pools found throughthe water and its out Slovakia. Started in 2014, the mirror-like re- strong visual identity uses the series’ flections,” she pool locations as austere swimming says.geometric “That backdrops. Within these, andthe thefemale signs subjects stand out, - there notwere thanks to any movement or so many! feeling emoted from their conFor atrolled spaceposes - as they actually designed for to be almost frozen, appear exercise, they like mannequins - but due certainly like to brightly colored to their tell you what you swimsuits and swimming can and can’t do!” caps that pop as the statement elements of each composition.
3
though the tographer always to depict main ’s easy eries portEra -
4
“People fascinate me,” Maria says. “Space has no meaning without h u m a n s . The same also goes the other way around. Humans have no meaning without space.” And it’s easy to see her point when staring at her photos - take away the swimmers and there’s no focal point to the location of these images; similarly, take away “The the selocation ries challenges backdrop the viewer to question and the the ingrained roles people swimmersplay in society,” Maria are without says explaining that the context.overall narrative is: “The “The main emptiness and mindless focus of my inability to change one’s series was predetermined role in life in to harmonize thethe absence of emotion.” humans and space,” Interestingly, although severe she shares. and motionless, the images aren’t disturbing. In fact, they seem to transcend not just time and eras but also any hold on a viewer’s emotional language. In looking at these images, the viewer seems to be able to capture the still peace of the subjects as if it were a transmittable essence.
6
7
CHROM
8
Lagos-based photographer Medina Dugger puts a modern spin on ancient Nigerian braiding traditions
series recontextualises some of Ojeikere’s (and “The availability of colourful hair African hair braiding is a technique“The steeped other) hair and wools in local extensions in history and tradition and has long beenhairstyles to highlight current and imagined designs,” for thetoday has led to unique markets a source of inspiration and curiosity. While says Dugger, explaining that the idea project came about after consulting on a book about on threading and variations the recent natural hair movement has Centre braiding techniques, providing brought about a huge change in thethe late photographer’s work published by the Contemporary Art, Lagos. “I learned Ojeikere’s new interpretations to an age-old way women of African decent style of and images represented much more than style, they practice.” protect their hair, braiding is a practice recorded an important part of Nigeria’s history.” that holds centuries-old symbolic and Although braided hairstyles are sociological meaning, an importantDugger also notes that Ojeikeres work marked becoming increasingly trendier, their fact that Lagos-based Californian a “return to traditional hairstyles over hair straightening and wigs, which became comanthropological significance is what photographer Medina Dugger hopes mon, post-Colonial rule. She believed he did passionate about appropriation those to highlight with her latest photograway, intent on preserving as African phy project, Chroma: An Ode to J.D.this in a very personal and methodicalare women’s relationship with braiding ‘Okhai Ojeikere’. Enthused by the stating that “This link between style and often begins in childhood and symbolwork of the late Nigerian photogra- history really fascinated me.” ises key life events, social status and pher J.D. ‘Okhai Ojeikere’, who exinherited family and tribal traditions. tensively documented thousands Keen to continue the documentation of Nigerian hair, Dugger aims to cata“African hair remains a very political of beautifully intricate Nigerian issue.” Dugger adds. “In our increasingly hairstyles over a 40-year period, logue these ancient hairdos through a fanciful and modern lens. “I’ve connected world, cultures and traditions Dugger’s new ongoing phonoticed women in Lagos incor- can become diluted and lost. I would love tography series is a modern porating colourful threads for these images to honour past practices, and colour-coded adaptation and weaves more and more,” while also highlighting the changes that of Ojeikere’s black and white explains Dugger. are happening.” sculptural images.
Zuzanna odiuG ailuiG yB
M, only one letter is needed to name the new series of photographs by Zuzanna Szarek.
The shots of the Polish photographer and painter portray skies during the day and at sunset. The element that unites the photos is a very familiar logo that peeks out from behind trees or buildings.
During a childhood spent in the Warsaw of the ’90s that M that stood out in the sky was a promise of happiness. Her shots child, she hoped to reach.
According to Zuzanna, the iconic M of McDonald’s is reminiscent of an oversized monster hovering above the city’s landscape and at the same time representing that American dream that, when she was a
During a childhood spent in the Warsaw of the ’90s that M that stood out in the sky was a promise of happiness. Her shots represent with a veil of melancholy something that Zuzanna has always loved since childhood.
9
Szarek
While growing up in post-communist Warsaw, photographer Zuzanna Szarek dreamt about the movies, toys, and food produced in America. McDonald’s was one aspect of the culture readily available to Szarek as a child in the 90s, and its m e n t . To d a y Wa r s a w i s u n d e r g o i n g r a p Happy Meal toys c h a nalways g e s , wprovided i t h h i p as trush o r e sofaexcitend restaura
popping up as fast as its skyscrapers though the golden arches of her child still remain, they are now blocked by e r i n g b u i l d i n g s a n d n e w c o n s t r u c t ion.
While growing up in post-communist Warsaw, photographer Zuzanna Szarek dreamt about the movies, t was one aspect of the culture readily available to Szarek as a child in the 90s, and its Happy Meal toys always provided a rush of excitement. Today Warsaw is undergoing rapid changes, with hip stores While growing up popping in post-communist Warand restaurants up as fast as its sky saw, photographer Zuzanna Szarek dreamt about the movies, toys, and food produced in America. McDonald’s was one aspect of the culture readily available to Szarek as a child in the 90s, and its Happy Meal toys always rush of excitement. Today Warsaw Whileprovided growing aup in post-communist Warsaw, is undergoing rapidSzarek changes, withabout hip stores photographer Zuzanna dreamt and restaurants up as fast as its sky the movies, toys, and popping food produced in Ameri-
ca. McDonald’s was one aspect of the culture While growing up in post-communist readily available to Szarek as a child in theWar90s, saw, photographer Zuzanna Szarek adreamt and its Happy Meal toys always provided rush about theToday movies, toys, and food produced in of excitement. Warsaw is undergoing wasand onerestaurants aspect of the rapid America. changes,McDonald’s with hip stores culture readily available popping up as fast as its sky to Szarek as a child in the 90s, and its Happy Meal toys always provided a rush of excitement. Today Warsaw the golden arches of is undergoing rapidscrapers. changes,Although with hip stores her childhood stillasremain, and restaurants popping up as fast its sky-they are now blocked by towering buildings and new construction.
10
I was never that keen on the food but the Happy Meal toy was something of a goal itself and the most appealing part of the menu. This was a very seductive promise of happiness. A rush of excitement for the hungry consumer I was quickly becoming.
T
oday as the city is changing fast, skycrapers are rising as fast as hype restaurants are opening : local, vegan, fusion‌ Golden arches stand
.
e
firmly offering continuity and their promis
11
This series shows the over-sized monster, hovering above the city’s landscape that became more of a landmark then a destination itself
12
13
The Color
Black 14
Self-taught Gabonese photographer Yannis Davy Guibinga is known for portraits that highlight the diversity of cultures and identities in the African diaspora. His works are often richly hued, with subjects positioned against bright gradient backgrounds or adorned
In his project The Darkest Colour in warm tones. however, Guibinga moves away from his multi-colored photo shoots to focus entirely on the color black and
its relationship to darkness, mourning, and death. The series is set in front of a matte black background and features two nude models whose skin has also been painted black. The works seek to unpack the negative aspects of the both the color and its symbolism. “Black is generally the colour associated with tragedy, death, and mourning, and the act of passing away is considered to be a tragedy in many cultures,” Guibinga tells Colossal.
seeks to redefine association of black and death with tragedy and sadness by representing the act of passing away as more of a relaxing
“‘The Darkest Colour’
experience.” The 22-year-old photographer is currently a student in professional photography at Marsan College in Montreal. You can see more of his portraits, like his series 2050 which explores the future of fashion from a black woman’s perspective, on his website and Instagram
15
16
to
Rags
e
rich s Mario Macilau was 14 and living on the streets of Maputo, the capital of Mozambique, when he got his hands on a camera. He taught himself to use it - and 12 years later he was holding a solo exhibition in Lisbon. Here he explains how he snapped his way out of poverty. As a boy, I dreamed of becoming a journalist. But then I got caught up with day-to-day troubles. When your life is full of worry it is like the future does not exist. When I was about seven, my father left our home in a township near Maputo and travelled to South Africa to look for work. I was older than my sisters and had to help bring in some money. So I started to take my mother’s biscuits into town to sell in the market. I got into doing odd jobs in the market - washing people’s cars and helping to carry their bags. Instead of going home, I often slept overnight in the market with my friends.
17
18
It wasn’t ver y saf e. We had now her e to keep anything, so we stol e from one ano ther. I got into some bad habits - min or crim inality, but it was a question of survival. Dog eat dog. My mother tried several tim es send me to to school but she just cou ldn ’t affo rd the fees. But all this time I was lea rnin g - I read books, and through volunteering with NGOs I learned English. When I was about 14, I bor row ed a friend’s camera. I started to take pho tograp of my hs surroundings, doc um ent ing peo ple from the townships as they travelle d to the city to sell their things. They were black-a nd-white photos, which I dev elop ed in a dar kroom I made in my mother’s house. I was teaching myself how to do things, practising whenever I could, but it was difficult for me to pay for the film and the chemicals.
My favourite photograph was taken n township wh ear the ere I grew u p early one It was of a w morning. oman walkin g into town cassava. Sh to sell e had her b ack to the ca it was rainin mera and g.
t ou
sa ab wa n s t I . wa ive me nI ng o e ut e t e ,b b wh ra r , e o ad 07 cam df ht eh ke 20 r a H ug n o t . i o h w a y g th ut er da he ou he ey, b ly am br i e ne o c s o n m b il t ew en film se fa mo t mo ei kn s a o I Th u s e eI 2, uy d n r fir to gu us g M a u a w F t h e a I ec n or ho th at e. ko eb th go e P idea m Ni h y m l n yt o nt h im t to ive ave ce it b ad n sell i g e r h Ig ad ld ad he e h r. So ou rh h w e s e th h he a. nn mo whic er wi y d m a m e, ca re on he eb t ph h st me wa ve a g he
Tha of m t phot rea y ear o is lo n l ple lly “wo y wor g gon k asu r . k Th e - I ”, in p r hot e. I ha just s at’s b didn’ o ogr t e aph d no t meth caus keep e it hou ing any y. w Id ght of m id for asn’t m aki ng y ow n ac are er
, 23
of
OUT
foc -
landscape is simply a vehicle through which I navigate the territory of another nature. nosnilloC arua L yB A landscape less ordinary; where the line between the You might already be familiar with the beautiful work of Philip Barlow. physical and the spiritual His trademark-style oil paintings hasthrough seemingly been are never quite in focus, as landscape is realm simply a vehicle though he has taken awhich photo-I navigate the territory of removed. However, these graph but forgotten to another adjust the nature. A landscape less orlens. dinary; wherescenarios the line betweenare the not intended physical and the spiritual realm has You might already be familiar with seemingly to removed. be of However, a surreal nature. The South African artist usubeen gives usBarlow. summer scenes the beautiful work ofallyPhilip these scenarios are not intended Hopefully, they will seem from the beach or city.to For behis of a surreal nature. HopeHis trademark-style latest oil paintseries, Night, hefully, brings they willcuriously seem curiouslyfamiliar and conthat and convincingly real.” ings are never quiteusinseductive focus,cityscapes as familiar vincingly real.” contained blurred lights, though he has takencreating a photothose appealing “The figures in the landscape colourful spotsthe that weserve as carriers and reflectors graph but forgotten to adjust might capture when the of the light that falls upon “The figures in the landlens. camera is struggling tothem,” he adds. “Bathed in focus in low light.
creating those appealing
us
scape serve as carriers and reflectors of the light that falls upon them,” he adds. “Bathed in the luminosity, it is my hope
the luminosity, it is my hope that they would become more The South African artist usu“Although I work withinbeautiful. To me, light is the tradition of ultimate subject because it ally gives us summera long scenes landscape painting,” embodies the pinnacle of all from the beach or city. says For Philip,his “my de- reality.” piction of the ‘seen’ latest series, Night, he brings Philip currently lives and us seductive cityscapes that paints in Riebeek Kasteel, near Cape Town. contained blurred lights,
that they would become more beauti-
19
Barlow c “light” in explains, in the land as carriers tors of the falls upon th In photography, this effect is called bokeh. It occurs when in the lumin part of the scene lies outside the depth of field and the my hope tha camera lens capturesBarlow out- celebrates “light” of-focus points of light. The instead. He become more resulting backdrops explains, of swirl- “The figures in the landscape serve ing light trails and colorful as carriers and reflecshapes result in dreamy, To me, light is tors of the light that eye-catching images that falls Bathed help draw attention to upon them.subject becau the main subject. in In the the luminosity, it is my hope that they would case of Barlow’s works, ies the pinnacl become more beautiful. the artist paints night me, light is the ultimate scenes featuringToblurry ty.” subject city buildings, hazy cars,because it embodies the pinnacle of all and bleary pedestrians reality.” as abstract silhouettes. However, in place of a I work within a long conventional “Although object tradition of landscape paintas the main subject, ing,” says Philip, “my depiction of the ‘seen’ landscape is simply a vehicle through which I navigate the territory of another nature. A landscape less ordinary; where the line between the physical and the spiritual realm has seemingly been removed. However, these scenarios are not intended to be of a surreal nature. Hopefully, they will seem curiously familiar and convincingly real.”
“Although I work tradition of lands ing,” says Philip, tion of the ‘seen’ l simply a vehicle thr navigate the territor nature. A landscape nary; where the line physical and the spir has seemingly been r However, these scena
20
G
M KA W
EI FON
sitiaguatS arua L yB
Etsy shop, and also partUsing only black ink, Malaysian illusners with Galerie Club trator Kamwei Fong has created a menagerie of playful black cats. DeSensible in Paris. spite their contextual isolationlines, and varying the density of uniform style, each of Fong’s cats the marks to create volume display unique peras well as a palpable sense sonalities: some of are furriness. fluffed and puffed into self-contained Fong has been working as balls; others look an illustrator since 2010, with curiosity under the or wariness at moniker Bo & fish that dangle Friends, and or waves that in addition to crash from the his cat character, animals’ own tails. The artist which he calls The Furry Thing, builds each feline form us-he dreams up similarly charming innumerable short thin ing monkeys, goldfish, puppies, and other animals in his line-driven black ink drawings. Fong sells signed print editions of his animal illustrations in his
21
prints at his Etsy shop, they make Kamwei Fong painstakingly crefantastic gifts! ates these textured, fluffy black cats, using only fine-line pen. The illustrations, a series called The Furry Thing, are the gorgeous in size and density to end product of a technique that slowly build volume requires a great deal of skill and texture, resulting in and patience. a ‘furry’ look. “I draw them by shading with The tons cats are of tiny crafted furs,” in such Kama way wei told that Bored each one displays a unique, Panda. “It is indeed a very playful personality, time consumwhich is testament ing process. to the skill of the Small ones like Malaysian artist. A3 could take a Kamwei makes similar works few days, big ones like using the same technique to 25×37 inches could create a variety of animals, take a few weeks.” such as monkeys, puppies, and The lines are varied Bo the Goldfish, a minimalist and peace-evoking character through which Kamwei aims to “encourage and uplift people to become more optimistic about life.” He illustrates under the name ‘Bo & Friends’ and sells his
22
Frescoes’ Ali Cavanaugh
St. Louis-based artist
paints dreamlike w
of female subjects on wet clay panels. She refers to he
“modern frescos,” due to their similarity to the fresco-s painting, and the luminosity she creates through a met ing translucent pigments on bright white sur faces.
23
n ee in s i un g r din pa ’s e n d to ct en sta s bje t r m “ e ai su a r nd h g e u g h n s i u k d a f vo en an s o ap e v l o sc Ca tai cal ls an l.” t e i a i r d ys t ou ra s rt ute ph o p in ch e m ea th nt
In
le hi w t e, ha a nc e t of a c ar en th pe es ep pr e d th
Pr
es
W
iso
ns
in
th
s,
th
e
wi
ll b
u ro
Fig
ur
He
e
gh e
Se
ail av
ab
em pt
w No
be
le
r fo
r2
pr
eo
g ic , tin Un au in by us Pa a d W he ion n lis ti bit ub hi Ar ,p ex ry p es ra ou co po gr m es e te Fr ll. n th n fa Co in er is d of od th de M rs um clu ok de se in u bo ly M w nt u ne a re us er ur a .H sc W e 18 20 r-
ki or rw
24
watercolors watercolors her works as r works as fresco-secco style of secco style of method of layerhod of layer-
at
th
8,
or
n
25
26
R KU
MA
S
Ã…kesson sitiaguatS arua L yB
27
Markus
28
In
h
29 o
is rn
p a
a
w
p
a
e
g
p
n
p
ly
ra
te
in
ti
s
d
a
e
in
tt
,
S
g w
ro
e
d
lt
e
d
h
ol
fe
fa
b
a
d
m
ri
c le
s
s
n in
d
a -f
a
rt
t
is
t
er
d
i
n
e
to
t
il e
n
d
, f
n
m
s
u
p
s
s
e
m
a
s
th
k
ly
il
of
th
m
d
i
e
si
o
a
se
so
u
es
a
tz
te
In
h
t ex ,
o
in
s
h
In
c
e
e.
n
.
,
n
o ti
ed
ts
il
c
to
je
io
b
e
a tr
sh
s
u
k li
a
s
k
s
p
e
a
s t p
a
in
a
gn
i er
si gs
to
n ti
ls yo
u
ke
of
ta
s er i if on
a
y own imagshares with Colossal. “I would find m
s,” Åkesson ent patterns in textiles and tapestrie
the differAs a child, I often sat and looked at
s, face s ’ t e bjec or e su h t m e n e th ss i dne rtak a e s v o f ely ns o ns. plet ssio m e otio o r c m p x e s e e and xtil see tity e te can n h e t d i rs, eir othe g th n n i i r le scu whi , ob h t a e ben res u g i f
ea
th
n
d
u
e
rn
w
is
h
a
is
M
rk
u
Å
s
d
e
h e a
e
i rt
n d V
h a d
st
e
I
in
m
is
ID A
a M
so
g
la
es in them, my
e
ch
in
li
o
k
n
li
g
c
th e
o
o
f
r
u
d
e
o
a
ve u
se
li
n
f
ty
d
p
.�
e
tu
tt
is
a
rb
rn
in
s
g
in
sc
e
im
n
a
e
g
s
e
s
m
a
th
t ke
a
s
d
a
e
p
u
lo
in
ic
re
se
te
ts
u
r-
m
o
re
own worl d, a nd I wou ld d patt ream ern as a awa y. F conc or m e p t e, t safe has he ty a a buil nd s t in tabi f eeli lity, ng o over beca f use and it re over p agai eats n. itse lf
fe
n
th
p
sh n
m
o
te
in
w Ă–
b
la n
G
d
a
, S
ri
w e
e d e n
a , w
n h
d e re
30
T a st re se d y le D -E in
P
h
a
e
.
ri s
re
CU
ikswotupz reiS etaK yB
e 31
SSaann Fr Fraanncciissccoo-- b a s e d p a i n te r E m i l i o V i l l a l b a c r e a te s a b s t r a c t p o r t r a i t s
i n s p i r e d b y t h e p r e c i s i o n o f m a s te r w o r k s f r o m t h e p a s t . H i s p a i n t -
i n g s a r e s e t a g a i n s t w h i te b a c k g r o u n d s t h a t p a r t i a l l y c o v e r o r o b s c u r e
l a r g e c l u s te r s o f d i v e r s e , h y p e r r e a l i s t i c e y e s , w h i c h a r e e a c h p a i n te d
f r o m p h o to g r a p h s o f p o s e d f a m i l y m e m b e r s o r f r i e n d s . V i l l a l b a f e e l s
more comfor table capturing the feelings in familiar subjects’ faces
rather than strangers, an element which he presents in his emotive
work.
“Subtle shif ts, repetition, (re)placement, or absence of facial features
a r e a t te m p t s to c r e a te a f e e l i n g o f d i s s o n a n c e a n d p r e s s u r e i n t h e
v i e w e r, ” e x p l a i n s V i l l a l b a i n a n a r t i s t s t a te m e n t . “ I w a n t s o m e o n e to b e
d r a w n i n b y t h e u n c a n ny n a t u r e o f a p i e c e a n d s t i l l f e e l s a f e to e x p l o r e
t h e f e e l i n g s a n d r e a c t i o n s t h e p r e s s u r e g i v e s r i s e to . ”
32
33
34